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The great deep house maestro Alton Miller is one of the most underrated names in the game if you ask us. The long-time innovator still turns out supremely designed sounds as this one on Mister Bear evidences. 'Afrika Alright' opens with smoky, soulful vocals and lovely flute melodies next to wispy synth explorations, 'Dub Afrika' pads it out with some extra pillowy low ends, then 'Hang On' brings some bright xylophone melodies and jumbled percussion to a more Afro tinged house shuffler. Last of all is 'Super Hero' with its whimsical synth leads and interesting sound designs adding rich detail to a dusty deep house groove. Timeless stuff as always from Miller.

Federsen inaugurates his new imprint Alt Dub this May with a split EP comprised of original cuts from himself and Hidden Sequence and a remix of each by the opposing artist.

Over the past decade and a half San Francisco based artist Federsen has been making his mark on the dub infused techno and house sound, delivering his vintage tape delay and analogue gear driven sound via the likes of Silent Season, Greyscale, Lempuyang and Ohm Series among others. Here though, Federsen opens a new chapter with the launch of his own imprint, Alt Dub, which kicks off here with music from himself and Federsen / Hidden Sequence - Positive Charge EP

Köln, Germany duo Hidden Sequence, whose music has found a home on the likes of Mosaic, Lempuyang and more.

Hidden Sequence’s ‘Switch’ leads the release and sees the duo smoothly blending an amalgamation of airy chord sequences, swelling pads, spiralling dub echoes and bumpy bass grooves with a shuffled, stripped back rhythm. Federsen’s ‘Polarity’ follows and dives into darker realms via expansive dub chords, intricately intertwined percussive reverberations, cascading bass flutters and crisp, minimalistic drums.

Opening the flip-side, Federsen interprets Hidden Sequence’s ‘Switch’, shifting the original’s ethereal aesthetic into a haze of billowing atmospherics, delayed percussion and vacillating low-end pulsations. The Hidden Sequence remix of ‘Polarity’ then rounds things out, upping the energy levels with a more upfront, robust rhythmic drive being intertwined with fragments of the original’s haunting textures and subtly unfurling feel.

Madonna is the first and only recording artist to have 50 #1 hits on any single Billboard chart. To celebrate this historic milestone, Madonna curated a new 50-track collection titled FINALLY ENOUGH LOVE: 50 NUMBER ONES which includes her favourite remixes of those chart-topping dance hits that have filled clubs worldwide for four decades as well as an abridged 16-track version, titled FINALLY ENOUGH LOVE. This 140-gram 2LP gatefold jacket includes single covers and a track-by-track on all featured 16 number one singles.

This collection highlights You Can Dance, Madonna’s first ever remix collection. Celebrating 35 years this year, You Can Dance has sold more than five million copies worldwide and is still the second best-selling remix album of all time. The collection also pays homage to “Everybody,” Madonna’s first single. Each remix was newly remastered for the collection by Mike Dean, who produced Madonna’s two most-recent studio albums, Rebel Heart (2015) and Madame X (2019). Along with those rarities, this album also introduces the “Offer Nissim Promo Mix” of “Living For Love” as its first official release.

Maria Callas was born to a Greek family in New York in 1923. Her vocal training took place in Athens, where her teacher was the coloratura soprano Elvira de Hidalgo, who had sung with Enrico Caruso and Feodor Chaliapin. After early performances in Greece, Callas’s international career was launched in 1947 when she performed the title role in Ponchielli’s La Gioconda at the Arena di Verona in Italy.

Her voice defied simple classification and her artistic range was extraordinary. In her early twenties she sang such heavy dramatic roles as Gioconda, Turandot, Brünnhilde and Isolde, but over the course of her career her most famous roles came to be: Bellini’s Norma and Amina (La sonnambula); Verdi’s Violetta (La traviata); Donizetti’s Lucia di Lammermoor and Anna Bolena, Cherubini’s Medea and Puccini’s Tosca. Though her timbre was not always conventionally beautiful, Callas’s musicianship and phrasing were in a class of their own. She brought characters to vivid life with her skill in colouring her tone and making insightful use of the text.

She is credited with changing the history of opera: by placing a perhaps unprecedented emphasis on musical integrity and dramatic truth, and by transforming perceptions – and reviving the fortunes – of the bel canto repertoire, particularly Bellini and Donizetti.

The 1950s marked the height of Callas’s career. Its base lay in the opera houses of Italy, and she became the prima donna assoluta of Milan’s legendary La Scala – notably in the productions
of Luchino Visconti – but her operatic appearances also encompassed London’s Royal Opera House, the New York Metropolitan Opera, Paris Opéra, the Vienna State Opera, and the opera houses of Chicago, Dallas, Houston, Lisbon, and, in the early 1950s, Mexico City, São Paolo and Rio de Janeiro.

From 1959, when she started a life-changing love affair with the Greek shipping magnate Aristotle Onassis, her performing career slowed down and her voice became more fragile. Her final stage performances came in 1965, when she was only 42.

There were many plans for a return to the stage – and for further complete recordings – but they never reached fruition, though in 1974 she gave a series of concerts in Europe, North America and Japan with the tenor Giuseppe di Stefano; he had partnered her frequently in the opera house and in the studio, not least in the 1953 La Scala Tosca under Victor de Sabata, considered a landmark in recording history. Callas died alone in her Paris apartment in September 1977.

From the pure Guinean tribal rhythm mixed with a collection of poems by Justo Bolekia, to the purest traditional jazz, to the hip hop & Neo-Soul that so characterizes the 90’s and 00’s. Omar seeks to mix old with modern, mainstream with underground, carnal with mental and the energy to move the skeleton, mix the relics of black music and transport them to 2022, where even today greater injustices continue to be noticed. and social and racial differences.

On this album, Omar Alcaide chooses to trick very varied collaborations, and take the album from the perspective of producer, composer and lead guitarist, even though there are some songs in which he sings. At his side, Juan Arance helps produce, compose and write most of the pieces that make up this album. It has collaborations such as Juanito Makandé; a flying soul, DORA; young promise, daughter of Bimba Bosé, Bubby Lewis; bassist for Snoop Dogg or Stevie Wonder, among others, Aqeelion; rapper and singer from Los Angeles, he shared with Erykah Badu or Dr. Dre in the 90’s.

Repress!

LOUIE VEGA RE-IGNITES THE DISCO CLASSIC 'DANCE (DISCO HEAT)' BY SYLVESTER
Grammy awarding winning producer & 5 time Grammy nominated Louie Vega continues to send dance floors into a peak hour frenzy with his remixes of disco classics on Nervous Records. The inspiration to delve into masters from this era began when he started remixing masters from the SAM Records catalogue, which is owned by Nervous Records, and with whom Louie has a long history going back to Nervous' early 90's origins. Louie is that unique producer who has had success in multiple genres of music including House, R&B, & Freestyle and he has brought that talent to help re-ignite New York disco classics like Vicky D's "This Beat Is Mine" and Convertion's "Let's Do It" featuring Leroy Burgess, as well as charting topping disco hits from John Davis & The Monster Orchestra "Bourgie Bourgie" & "Up Jumped The Devil".
This time, Louie put his focus on a track outside of the SAM Records catalogue, and one that was an international disco hit that also crossed over to becoming a 1978 pop hit, namely Sylvester / Dance (Disco Heat). Using elements from the 1978 version and combining them with his own original musical and percussion contributions, along with new vocal performances from renowned singer Cindy Mizelle, Louie has refashioned and reignited this 39 year-old production into a 2018 club anthem.
This past year has seen Louie continue to fortify his position as one of the industry's most prolific producers. Remixes from his Grammy - nominated best dance album "Louie Vega Starring...XXVIII' have consistently sold out on its vinyl release and hit number 1 on charts on multiple digital platforms. 2018 will see collaborations with Kenny Dope under their legendary and world-renowned Masters At Work and Kenlou monikers, as well as co-productions with The Martinez Brothers and Joseph Capriati.
Louie along with Anané Vega recently created one of the summer's premier club destination at their Ibiza summer residency The Ritual with Anané & Louie Vega at Heart. He continues to cross the globe from Europe to South Africa to Asia and back as one of the world's most sought after DJ's, and incredibly is able to maintain a weekly radio show on WBLS for the last 8 years and his NYC residency at Cielo under The Roots NYC moniker for over 13 years.

Anathema's phenomenal live album with the Plovdiv Philharmonic Orchestra reissued on vinyl.

'A band that have mastered the art of aural seduction'- Metal Hammer

In May 2012 Anathema released 'Weather Systems', which became the most acclaimed and successful album of the band's celebrated career. The album

scored high in numerous critics end of year polls around the world and cemented the band's reputation as one of the most exciting and progressive

band around. Following the release of the album the band embarked on a lengthy tour. The European leg opened with a triumphant one-off show at the ancient Roman

theatre of Philippopolis with the Plovdiv Philharmonic Orchestra in September 2012. This incredible show was recorded, and the results were later released in

2013 on Kscope as 'Untouchable'. It is now reissued on double vinyl in a wide spine sleeve. The release of 'Untouchable' follows an extensive worldwide headline tour,

including performances at Download Festival, ArcTanGent and Wembley Arena with Opeth in support of their 2017 studio album 'The Optimist'. The release

won the Album of the Year at the Progressive Music Awards '17, reached the top 10 in the Polish charts, top 20 in Germany, top 40 in the UK, and has 6

million track streams on Spotify. This built on the success of their previous Kscope material, which also won at the Progressive Music Awards, including

Album of the Year, Live Event of the Year & Multimedia Package of the Year for 2010's 'We're Here Because We're Here', 2012's 'Weather Systems' and 2013's 'Universal'.

'A beautiful bit of live magic' - Kerrang

'Sumptuous live recording of a band at their zenith' - Prog

Mike Dunn is a pivotal house artist who brought his own famously raw and stripped-back style combined with infectious hip hop elements. He is behind plenty of well-known anthems, most famously 'Dance You Mutha' and 'God Made Me Phunky', and founded Dance Mutha in 1988. It released music by MD Connection, Gershon Jackson and I-ROC-T, while Dunn also co-founded seminal acid labels Warehouse Records and Muzique Records which played a key role in the development of Chicago and acid house. Dunn has continued to produce over the ensuing four decades and has landed on the likes of Defected, Nu-Groove, Classic, Trax and many more. The relaunch of the Dance Mutha label has been inspired in part by Dunn's discovery of a raft of 'lost' unreleased masters from the late '80s and early '90s. It's these tracks that provide the jumping-off point with this new release. '43:31' is the first out of the blocks and brings prickly acid texture to raw analogue drums. Slapping hits add extra bite to this most stripped-back and effective slice of pure warehouse music. Then come the snappy snares and deep bass of 'Acid Feet (Phaze 1)'. This spare, impactful cut is riddled with shapeshifting acid and caustic synth textures that bring the rugged drums to life. Last of all, the excellent Time Machine' will indeed take you all the way back to the dark, delirious and delicious days of the earliest acid house with its wonky 303s burrowing deep into the night next to coarse claps and ice-cold hits.

Released in 2000, Don't Fear The Reaper: The Best of Blue Öyster Cult is a comprehensive compilation album showcasing the most iconic tracks from Blue Öyster Cult's storied career. Spanning their early 1970s beginnings to their success through the 1980s, the album features hits like the legendary "Don’t Fear The Reaper," the hard-hitting "Godzilla," and the haunting "Burnin' for You." Known for blending hard rock with elements of metal and psychedelia, Blue Öyster Cult’s complex guitar work and enigmatic lyrics shine throughout this collection. The album highlights the band’s innovative sound, which helped shape the rock genre with its unique mix of heavy riffs, intricate harmonies, and dark themes. For both longtime fans and new listeners, Don't Fear The Reaper: The Best of Blue Öyster Cult is a must-have, offering a perfect introduction to the band's most influential and timeless tracks. Don't Fear The Reaper: The Best Of Blue Öyster Cult is a limited edition of 2000 numbered copies on translucent blue coloured vinyl.

"Keep Your Soul Together"" (1973) is Freddie Hubbard’s fifth studio album released on Creed Taylor's CTI label. The album features Hubbard alongside an ensemble that includes Junior Cook on tenor sax, George Cables on keyboards, Aurell Ray on guitar, Kent Brinkley or Ron Carter on bass, Ralph Penland on drums, and Juno Lewis on percussion. The album’s sound, though occasionally funky, is rooted in creative jazz, showcasing Hubbard in peak form across four of his original compositions.

Though some writers have often underrated Hubbard’s CTI recordings, mistaking them for his later, more commercial output on Columbia, this particular album stands out as a testament to his ingenuity. Hubbard’s blend of bravado and subtlety shines through, as does his ability to fuse technical mastery with emotional depth. His ability to maintain a consistent, rich tone across both slow and fast passages placed him among the greatest trumpeters in jazz history.

Influenced by legends such as Miles Davis and Clifford Brown, Hubbard nonetheless crafted a sound entirely his own, becoming one of the boldest and most inventive trumpeters of the bop, hard-bop, and post-bop eras. His impact on jazz extended far beyond his solo recordings, as he collaborated with many of the genre's greats, leaving behind a powerful legacy. Down Beat magazine described Hubbard as “the most powerful and prolific trumpeter in jazz” shortly after his passing in 2008. His influence continues to shape the world of jazz, inspiring generations of trumpeters and musicians alike. "

Limited edition of 250 copies. The musician & songwriter Stein Roger Sordal is finally ready with his second solo album - "_All I Try to Forget" - the second part of a double album where all music and lyrics is written by Sordal himself (both part 1 & 2 available as a single 18 track CD). Through the years, the renowned Norwegian artist has played in a variety of bands. Internationally, he's mostly known as the bass player and songwriter in Green Carnation, while more and more people also know him as the singer, guitar player and songwriter in the band Sordal. Stein Roger Sordal has played on more than 30 album releases from the 90s and up to now, but last year's "As I Try to Remember_" was his first a solo album, where everything was played by himself. Both albums show Sordal diving into his own catalogue, making acoustic versions of songs he originally wrote for bands like Green Carnation, Sordal, Angels Motel, Plutho and Soxpan. His choices haven't necessarily been the most known songs, but rather those who mean the most to him. The album is sparsely arranged, and consists mostly of vocals, acoustic guitars and piano.

Elite artists of all ages, stages, genders and genres coming together to celebrate one of the world's most important yet undersung heroes, national treasure Kevn Kinney. Kevn's catalog of hundreds of songs (both as lyricist/frontman of Drivin N Cryin and solo) has been pared down to the most beloved gems, released in four installments.

Elite artists of all ages, stages, genders and genres coming together to celebrate one of the world's most important yet undersung heroes, national treasure Kevn Kinney. Kevn's catalog of hundreds of songs (both as lyricist/frontman of Drivin N Cryin and solo) has been pared down to the most beloved gems, released in four installments.

Cannonball Adderley Quintet in Chicago is revered among jazz aficionados as an essential document of late 1950s hard bop

It captures two of the greatest saxophonists in jazz, Adderley and Coltrane, at a time when they were both at a creative peak. The album is a vital recording from a golden era in jazz, featuring a rare and electric partnership between two saxophone giants. Its hard bop foundation, infused with hints of modal jazz, places it among the most important recordings of its time. The album was recorded the February 3, 1959 during a time when Adderley was playing as part of Miles Davis' group, and it captures the quintet during a pivotal moment in jazz history. On Cannonball Adderley Quintet in Chicago, you can hear Coltrane at a transitional stage, balancing between his earlier bebop style and the modal, more avant-garde approaches he would later pursue. His interaction with Adderley is fascinating because it blends his dense harmonic language with Adderley's more traditional, bluesy approach.Cannonball Adderley had been recruited by Miles Davis in 1957, joining what would become one of the most influential jazz groups of all time. Adderley's style was deeply rooted in the blues, and he brought a strong sense of soulfulness and swing to the Davis group. While Davis' style was often cool and restrained, Adderley's alto saxophone was the opposite: robust, fiery, and emotional. Adderley's command of the instrument was remarkable, and his ability to balance technical prowess with a highly accessible, bluesy feel is on full display throughout Cannonball Adderley Quintet in Chicago . His solos are expressive and lyrical, often imbued with a sense of joy and exuberance. This makes for a perfect contrast to Coltrane's playing, which at this point was becoming more dense and harmonically complex

The “Vince Montana Tribute” (Louie Vega and Rick Wilhite from Detroit Rework) is a heartfelt and masterful production in which 2021 Grammy Award Nominee Louie demonstrates his appreciation for the disco sounds that he grew up on in the iconic borough of Bronx, NYC. The inspiration came about through an edit Rick sent to Louie. Louie added some of his own editing touches, and the resulting track got big response whenever Louie played it at his headlining sets. Given Louie’s longtime love and respect for Vince Montana, he decided to create an even bigger musical project. Bringing in Elements of Life band members Gene Perez (Bass), Axel Tosca (Fender Rhodes) and Luisito Quintero (Congas), and then adding a piano line himself, Louie was able to bring out the most authentic disco elements of this superlative groove but rework them so they are exactly in the pocket for today’s dancefloors worldwide.

“Luana – Americano” draws its inspiration from South-American atmospheres that are presented in classic Italo way. One of the most important parts of the project is the young, talented vocalist Luana, whose voice captivated the producers right from the beginning. Michael’s (Tiger Club) well flowing arrangements culminate in the catchy chorus, supported by male choir by Stefano Brignoli. A perfect track for the Italo-spring.

2025 Repress
Mike Parker, one of the most respected and innovative artists in techno, presents his debut release Cyclic Intonations on Sonic Groove with a monster three cut collection of TB-303 infused songs.

Included in this acidic burner of a release is :

- Atom Soldiers, an unearthed, thought-provoking acid gem recorded in the late 1990s

- Signal 303 features Mike dusting off his TB-303 to create an incredible new gem.
- Resonator (Adam X Pumped Up Edit), Originally released on Defective Records in 1997 and fetching a fortune on Discogs. Adam adds a heavier bass kick drum to one of the best acid tracks ever, ensuring it fits seamlessly into any modern day techno set.

If you love acid techno, this release is a must-have!

Das achte Album der Punkrock-Gruppe Turbostaat: Wo sonst Möwen und Wattenmeer waren, sind jetzt Tauben und Beton

Junger Punk steht breit lächelnd in kahler Raumecke vor zerschlissener Tonbandmaschine; kurzgeschorene, blondierte Haare, schnittige Sonnenbrille mit dünnen Metallbügeln, angejahrte Lederjacke über buntem Flanellhemd; Trainspotting-Ästhetik. Beschriebenes Foto ist gewiss kein typisches Albumcover-Motiv - und doch ziert es das Cover vom neuen, achten Studioalbum der Husumer, Hamburger, Berliner Band Turbostaat. Der Mann im Zentrum des angegilbten Schnappschusses? Turbostaat-Stammproduzent und Toningenieur Moses Schneider in seinen späten Zwanzigern; oder in seinen frühen Dreißigern - jedenfalls in einem Lebensabschnitt vor Kamillentee und Hochglanz-Equipment. Dreck, Wut, Tatendrang, Aufbruchsstimmung, rotziger Pessimismus, unverhohlen grantiger Punk-Geist - das sind die Parallelen zwischen jenem Foto und der Platte, die es bebildert. Sie hört mit Fug und Recht auf den Namen 'Alter Zorn', klingt mehr nach Stunde null als nach Spätwerk-LP und probt - anstatt friedfertig zu umarmen - den unsanft aufrüttelnden Würgegriff.

Okay, geschenkt: Friedfertig umarmt haben Turbostaat ihre Hörer*innen auf musikalischer Ebene Zeit ihres Bestehens ohnehin nie. Da war immer mehr Understatement und nordfriesische Nüchternheit als Charmeoffensive oder Frohmut, immer mehr Sehnsucht als Wohlbehagen, immer mehr Krach, wirre Worte und bärbeißige Mine zum bösen Spiel als gut gelaunter Humbug. Turbostaat-Musik, das ist Punkrock, dem Wattenmeer-Nebel in den Lungen hängt - seitdem sich die Band 1999 in der schleswig-holsteinischen Provinz formiert hat und auch ein Vierteljahrhundert später.

Wo sonst Möwen, Wattenmeer-Nebel und graue Weiten waren, verdecken nun Taubenschwärme, endzeitlich versmogte Betonburgen und eine gottverdammte Bismarck-Statue, die dem Szeneviertel ihren metergroßen Arsch entgegenstreckt, die Sicht auf alles Schöne. 'Alter Zorn' blickt auf die »Affenstraße«, auf verwahrloste Eckkneipen, in der sich düstere Schatten stapeln, auf »Ruinen zwischen Glas und Stahl«, auf Metropolen voll »greller Sommerkotze« und Spiegelscherben, die immer enger werden - und nur selten starr auf’s offene Meer. Was den schwammigen Protagonist*innen des Turbostaat-Universums dennoch geblieben ist, ist die bohrende Einsamkeit - dieses wütend-resignierte Gefühl, es nicht zustandezubringen, »hier mitzumarschieren«. 'Alter Zorn' zeichnet eine Dystopie - eine Welt zwischen Novembergicht und Hitzestau, in der sich tote Schwäne im Graben stapeln, Panzer rollen, die Luft knapp wird, Obdachlose die Straße umarmen, alle alles mit Karte bezahlen, in Ledersitzen zittern, die Laune im Arsch und überhaupt »wirklich Sense« ist.

Das achte Album der Punkrock-Gruppe Turbostaat: Wo sonst Möwen und Wattenmeer waren, sind jetzt Tauben und Beton

Junger Punk steht breit lächelnd in kahler Raumecke vor zerschlissener Tonbandmaschine; kurzgeschorene, blondierte Haare, schnittige Sonnenbrille mit dünnen Metallbügeln, angejahrte Lederjacke über buntem Flanellhemd; Trainspotting-Ästhetik. Beschriebenes Foto ist gewiss kein typisches Albumcover-Motiv - und doch ziert es das Cover vom neuen, achten Studioalbum der Husumer, Hamburger, Berliner Band Turbostaat. Der Mann im Zentrum des angegilbten Schnappschusses? Turbostaat-Stammproduzent und Toningenieur Moses Schneider in seinen späten Zwanzigern; oder in seinen frühen Dreißigern - jedenfalls in einem Lebensabschnitt vor Kamillentee und Hochglanz-Equipment. Dreck, Wut, Tatendrang, Aufbruchsstimmung, rotziger Pessimismus, unverhohlen grantiger Punk-Geist - das sind die Parallelen zwischen jenem Foto und der Platte, die es bebildert. Sie hört mit Fug und Recht auf den Namen 'Alter Zorn', klingt mehr nach Stunde null als nach Spätwerk-LP und probt - anstatt friedfertig zu umarmen - den unsanft aufrüttelnden Würgegriff.

Okay, geschenkt: Friedfertig umarmt haben Turbostaat ihre Hörer*innen auf musikalischer Ebene Zeit ihres Bestehens ohnehin nie. Da war immer mehr Understatement und nordfriesische Nüchternheit als Charmeoffensive oder Frohmut, immer mehr Sehnsucht als Wohlbehagen, immer mehr Krach, wirre Worte und bärbeißige Mine zum bösen Spiel als gut gelaunter Humbug. Turbostaat-Musik, das ist Punkrock, dem Wattenmeer-Nebel in den Lungen hängt - seitdem sich die Band 1999 in der schleswig-holsteinischen Provinz formiert hat und auch ein Vierteljahrhundert später.

Wo sonst Möwen, Wattenmeer-Nebel und graue Weiten waren, verdecken nun Taubenschwärme, endzeitlich versmogte Betonburgen und eine gottverdammte Bismarck-Statue, die dem Szeneviertel ihren metergroßen Arsch entgegenstreckt, die Sicht auf alles Schöne. 'Alter Zorn' blickt auf die »Affenstraße«, auf verwahrloste Eckkneipen, in der sich düstere Schatten stapeln, auf »Ruinen zwischen Glas und Stahl«, auf Metropolen voll »greller Sommerkotze« und Spiegelscherben, die immer enger werden - und nur selten starr auf’s offene Meer. Was den schwammigen Protagonist*innen des Turbostaat-Universums dennoch geblieben ist, ist die bohrende Einsamkeit - dieses wütend-resignierte Gefühl, es nicht zustandezubringen, »hier mitzumarschieren«. 'Alter Zorn' zeichnet eine Dystopie - eine Welt zwischen Novembergicht und Hitzestau, in der sich tote Schwäne im Graben stapeln, Panzer rollen, die Luft knapp wird, Obdachlose die Straße umarmen, alle alles mit Karte bezahlen, in Ledersitzen zittern, die Laune im Arsch und überhaupt »wirklich Sense« ist.

Das achte Album der Punkrock-Gruppe Turbostaat: Wo sonst Möwen und Wattenmeer waren, sind jetzt Tauben und Beton

Junger Punk steht breit lächelnd in kahler Raumecke vor zerschlissener Tonbandmaschine; kurzgeschorene, blondierte Haare, schnittige Sonnenbrille mit dünnen Metallbügeln, angejahrte Lederjacke über buntem Flanellhemd; Trainspotting-Ästhetik. Beschriebenes Foto ist gewiss kein typisches Albumcover-Motiv - und doch ziert es das Cover vom neuen, achten Studioalbum der Husumer, Hamburger, Berliner Band Turbostaat. Der Mann im Zentrum des angegilbten Schnappschusses? Turbostaat-Stammproduzent und Toningenieur Moses Schneider in seinen späten Zwanzigern; oder in seinen frühen Dreißigern - jedenfalls in einem Lebensabschnitt vor Kamillentee und Hochglanz-Equipment. Dreck, Wut, Tatendrang, Aufbruchsstimmung, rotziger Pessimismus, unverhohlen grantiger Punk-Geist - das sind die Parallelen zwischen jenem Foto und der Platte, die es bebildert. Sie hört mit Fug und Recht auf den Namen 'Alter Zorn', klingt mehr nach Stunde null als nach Spätwerk-LP und probt - anstatt friedfertig zu umarmen - den unsanft aufrüttelnden Würgegriff.

Okay, geschenkt: Friedfertig umarmt haben Turbostaat ihre Hörer*innen auf musikalischer Ebene Zeit ihres Bestehens ohnehin nie. Da war immer mehr Understatement und nordfriesische Nüchternheit als Charmeoffensive oder Frohmut, immer mehr Sehnsucht als Wohlbehagen, immer mehr Krach, wirre Worte und bärbeißige Mine zum bösen Spiel als gut gelaunter Humbug. Turbostaat-Musik, das ist Punkrock, dem Wattenmeer-Nebel in den Lungen hängt - seitdem sich die Band 1999 in der schleswig-holsteinischen Provinz formiert hat und auch ein Vierteljahrhundert später.

Wo sonst Möwen, Wattenmeer-Nebel und graue Weiten waren, verdecken nun Taubenschwärme, endzeitlich versmogte Betonburgen und eine gottverdammte Bismarck-Statue, die dem Szeneviertel ihren metergroßen Arsch entgegenstreckt, die Sicht auf alles Schöne. 'Alter Zorn' blickt auf die »Affenstraße«, auf verwahrloste Eckkneipen, in der sich düstere Schatten stapeln, auf »Ruinen zwischen Glas und Stahl«, auf Metropolen voll »greller Sommerkotze« und Spiegelscherben, die immer enger werden - und nur selten starr auf’s offene Meer. Was den schwammigen Protagonist*innen des Turbostaat-Universums dennoch geblieben ist, ist die bohrende Einsamkeit - dieses wütend-resignierte Gefühl, es nicht zustandezubringen, »hier mitzumarschieren«. 'Alter Zorn' zeichnet eine Dystopie - eine Welt zwischen Novembergicht und Hitzestau, in der sich tote Schwäne im Graben stapeln, Panzer rollen, die Luft knapp wird, Obdachlose die Straße umarmen, alle alles mit Karte bezahlen, in Ledersitzen zittern, die Laune im Arsch und überhaupt »wirklich Sense« ist.

Infinite Fog are delighted to present another piece of the intriguing COIL puzzle. In the mid 1990s the core team of John Balance and Peter Christopherson were continuing their exploration of the outer reaches of electronic sound production as exemplified by the "Born Again Pagans" release, originally an EP only, featuring both the hugely danceable "Protection" smash which had Danny Hyde's influence writ in large letters all over it, as well as the first outings of their intriguing more ambient/glitch-based ElpH material, probably their most haunting and haunted works. This new 3LP anthology re-edition collects all of the ElpH material which didn't appear on their later "Worship the Glitch" album, namely the pHILM #1 10", a host of very rare compilation tracks as well as a number of at the time unreleased pieces in the same vein. The stunningly presented release also features the ElpH entity's last ever appearance originally available as part of raster noton's award winning 20' to 2000 series of releases, the "Zwölf" EP.

All the material has been lovingly remastered by Jessica Thompson with re-imagined design-work by Oleg Galay and including a replica of the original St. Sebastian on acid poster.

"After releasing their debut album (I’m) Stranded to both critical and commercial success, The Saints followed up with the 1978 album Eternally Yours. The set features some of their most popular tracks to this day, including “Know Your Product”, “Private Affair”, and “This Perfect Day”. Eternally Yours is available as a limited edition of 1000 individually numbered copies on pink coloured vinyl and includes an insert.

"The Sheila Divine is an American, Boston-based rock group. Critics compare their sound to the band's own heroes, mainly the early 1980s post-punk. The band is most often noted for its loud/soft musical dynamic and Aaron Perrino's soaring vocals, screaming in key one moment and howling a falsetto the next. The band has a large die hard fan base in what is often called ""the three Bs"": Boston, Buffalo, and Belgium. Their first full-length album New Parade was released in 1999. It received critical praise from local press and spawned the college radio hit Hum.

New Parade is available as limited numbered edition of 500 copies on black clouds coloured vinyl"

Jet Set is a collection of 15 carefully crafted guitar-driven songs that prove to be the most diverse and inventive of Los Straitjackets' oeuvre. The album was recorded at The Pow Wow Fun Room studios in Los Angeles with producer and friend Janne Haavisto (of Laika and the Cosmonauts) and includes a few guest appearances by The Basic Cable Horns (from the Conan show) and Finnish actress and musician Irina Bjorklund. Jet Set delivers the high-energy rock and roll instrumental music fans have come to expect from Los Straitjackets. This pressing of Los Straitjackets' long-out-of-print 2012 classic is pressed on orange vinyl and limited to 500 copies.

It's a bird, it's a plane, no, it's the mystical masked avengers Los Straitjackets! Their album The Further Adventures of Los Straitjackets continues their conquest as the champion luchadores of instrumental rock. With the heroic efforts of Eddie Angel, Daddy-O Grande, Pedro Del Mar and Teen Beat, the world-renowned kings of Chopsville are set to release one of their most remarkable albums to date. This 2009 masterpiece features 15 tracks of future vintage sounds straight from planet Straitjacket. Do not succumb to the evil temptations of mediocrity and check out Los Straitjackets' amazing journey to save the world one riff at a time! This long-out-of-print album is pressed on green vinyl and is limited to 1,000 copies worldwide! This marks the first time The Further Adventures of Los Straitjackets is pressed on color vinyl.

Gerson King Combo's 1977 album is a masterpiece of Brazilian soul, emerged within the Black Rio movement, which was recorded with União Black as the backing band. It features the kind of full-on funky sound you'd only expect to hear from a rare few American groups of the time. Its ten songs mix political statements, which primarily address issues of racial pride, and dancefloor-oriented music. The album has achieved cult status over the years, becoming one of the most sought-after Brazilian funk records of all times. Remastered from the original tapes and pressed on 180g vinyl in a gatefold sleeve. This release is part of a new reissue series that will include many other outstanding Brazilian classics

"Saltburn is the 2023 black comedy psychological thriller film written, directed, and co-produced by Emerald Fennell. The film stars a student (Barry Keoghan) at Oxford University, who finds himself drawn into the world of a charming and aristocratic classmate (Jacob Elordi), who invites him to his eccentric family’s sprawling estate for a summer never to be forgotten.

The film became one of the most-streamed films upon its streaming release on Amazon Prime Video in December 2023. It received critical acclaim and several accolades, including nominations for two Golden Globe Awards and five BAFTA Awards.
The music was created by Anthony Willis, who previously scored Fennell’s Promising Young Woman among others. Saltburn is available on black vinyl and includes an insert. "

Jekabson returns to Wide Hive Records with his most inspiring work to date 'Breakthrough'. On 13 new songs Erik weaves together amazing arrangements and beautiful compositions all under his mesmerizing trumpet playing. Many of the players along side Erik are artists themselves or have impressive symphony credentials.

The Gentle Spring are a new group, formed by Michael Hiscock, Emilie Guillaumot and Jérémie Orsel. Michael has an illustrious pop history, having been a founder member of The Field Mice, possibly the most beloved band on Sarah Records in the 1990s. And with The Gentle Spring, it seems that history is repeating itself…

When Michael and his friend Bobby Wratten formed The Field Mice, the two of them very quickly created a set of songs whose emotional honesty, raw guitars and perfect pop melodies pierced the hearts of a generation of indiepop fans, kids who were unmoved by the posturing of mainstream indie, and who didn’t want to spend time in fields dancing at 24-hour raves. The Field Mice were the band who defined the meaning and the spirit of Sarah Records. Defiantly in love with pop, defiantly un-macho, defiantly…sensitive. And now, remarkably, Michael has done it again. With his new musical partner Emilie, The Gentle Spring have created a fresh new iteration of indiepop music. Once again, the songs are unafraid of raw emotions, brutally honest and is still in love with big pop melodies.

They are still….sensitive. But life is seen through a different lens now. There is wisdom, there is experience, and there is the ability to look back at the world with a mixture of regret and joy. These are very adult songs, and the arrangements reflect this. Rich acoustic guitars and Emilie’s haunting keyboard have replaced hectic drum machines and urgent distortion. And there is a third element to this music. Jérémie Orsel’s sophisticated guitar adds textures and melodies that give these songs a real depth, while maintaining an enigmatic distance, never quite overwhelming the vocal line. So things are clearer now.

But feelings are just as strong. The pain of unrequited love that made Field Mice songs so poignant hasn’t gone away. In some ways, the thought of roads not taken is more profound when experienced in retrospect. I Can’t Have You As A Friend entertains this notion, still moved by the allure of a different life, but shuddering with fear at what might have happened. Also still haunted by the past, The Girl Who Ran Away conjures up the ghost of a previous failed relationship, which threatens to undermine happiness in the present. In Severed Hearts, sung by Emilie, there is the stark recognition that some endings really are final: sometimes there can be no reconciliations. But the song cleverly moves on from this: it acknowledges that, even after the worst emotional loss, you have to pick yourself, you will move on. It’s sophisticated and it’s mature – but it will still break your heart. Sugartown is another song that plays this trick on you. It insists that there will always be lightness and shade. It warns you against complacency, but does it so kindly that you feel like you’ve been embraced. When Michael’s and Emilie’s vocals combine in the final chorus, telling us that we don’t live in Sugartown, you know they are right – and yet the sweetness of the singing makes you feel that – just for a moment – you do.the band perform as a trio and have already found a keen audience in France, where they are based. During a short tour of the UK in January, to coincide with this release, British audiences will get their first opportunities to see The Gentle Spring play these new songs live

Do names such as EyeHateGod, Crowbar, Hellgasm, Hellkontroll, Goatwhore, Saint Vitus or Down sound familiar?

Then there's one more for you to remember - GASMIASMA - a band which consist of active or past members of all those legends mentioned. 783 label is proud to present a new release of GASMIASMA - NOLA based punk monolith. Get yourself ready for intense and filthy hardcore punk noise.

As all true classics, GASMIASMA recorded an EP that collected dust for ages before getting full-blown official release it deserves. "At War With Punk" and "Krvs Kadavers" (live recording from KRVS Radio in Louisiana), has been only released on limited cassette tape in USA.

Now, both materials are compiled into 28-minute-long blast-punk source of moshpit!

Still not convinced? Let's also add the fact, that Poffen of mighty Totalitar sharing his vocals one of the songs!

GASMIASMA is one of New Orleans best kept secret!

It doesn't matter, if you're into hardcore / punk, metal, crust or even grindcore - this release is not something you would like to miss!

Available as jewel case CD, MC tape with mini-poster and (black or limited, monochrome A-Side/B-Side) LP.

PEACE THROUGH SWIFT DEATH!

Hype sticker on the shrink-wrapping
Service to relevant key metal media
Stream features, interviews, and social media campaigns around the release date
Former and active members of EyeHateGod, Crowbar, Hellgasm, Hellkontroll, Goatwhore, Saint Vitus or Down playing raw and fast hardcore / punk.
Video for title track "At War With Punk" premiered via Decibel Magazine

Do names such as EyeHateGod, Crowbar, Hellgasm, Hellkontroll, Goatwhore, Saint Vitus or Down sound familiar?

Then there's one more for you to remember - GASMIASMA - a band which consist of active or past members of all those legends mentioned. 783 label is proud to present a new release of GASMIASMA - NOLA based punk monolith. Get yourself ready for intense and filthy hardcore punk noise.

As all true classics, GASMIASMA recorded an EP that collected dust for ages before getting full-blown official release it deserves. "At War With Punk" and "Krvs Kadavers" (live recording from KRVS Radio in Louisiana), has been only released on limited cassette tape in USA.

Now, both materials are compiled into 28-minute-long blast-punk source of moshpit!

Still not convinced? Let's also add the fact, that Poffen of mighty Totalitar sharing his vocals one of the songs!

GASMIASMA is one of New Orleans best kept secret!

It doesn't matter, if you're into hardcore / punk, metal, crust or even grindcore - this release is not something you would like to miss!

Available as jewel case CD, MC tape with mini-poster and (black or limited, monochrome A-Side/B-Side) LP.

PEACE THROUGH SWIFT DEATH!

Hype sticker on the shrink-wrapping
Service to relevant key metal media
Stream features, interviews, and social media campaigns around the release date
Former and active members of EyeHateGod, Crowbar, Hellgasm, Hellkontroll, Goatwhore, Saint Vitus or Down playing raw and fast hardcore / punk.
Video for title track "At War With Punk" premiered via Decibel Magazine

With his Electric Blues All-Stars, Kai Strauss has made a name for himself all over Europe with dynamic, driving live shows and award-winning CDs, featuring an individual style that’s based on the urban blues tradition, but taking in big chunks of soulful and funky grooves. And this band knows how to rock the house!
For “Wailin’ In Vienna”, Kai has realized his long-standing plan to record an old-school blues album, going back to his roots and beyond. And the results are nothing short of spectacular, with 15 self-composed songs that cover lot of traditional ground: swinging R&B, 50’s Chicago blues, instrumental shuffles, even some bluesy jazz, a minor-key cha-cha and a tribute to Bill Doggett and his guitarist Billy Butler.
Although the shadows of T-Bone, the three Kings and others loom large over the proceedings, Kai Strauss never fails being his own man. Of course it helps when you can realize such a project with a team comprising some of the best players in this style: Dani Gugolz and Peter Müller have been a steadily swinging rhythm team for 35 years. Pianists Dave Ruosch and Andreas Sobczyk combine tasteful chordal work with cascading treble runs. Sax Gordon has been a first-call R&B horn man for decades. Gerry Lülik’s is one of Austria’s foremost bluesharp players. Pianist Christian Dozzler, who came up in Vienna but has long made his home in Texas, can be heard with the likes of Anson Funderburgh when not doing his own thing. Finally, the two guitar greats heard alongside Kai hardly need much introduction: Rusty Zinn and Alex Schultz have been among the top tier of traditional blues string-benders since the 1990’s. Here, they are mostly heard in a supporting role for their friend and colleague, but ready to step out in style when called upon.

Knox Chandler’s career has spanned for over four decades, including performing, recording, arranging and producing, with such acts as REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, Tricky, The Creatures, Dave Gahan Paper Monsters and The Golden Palominos etc. His long stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and Cyndi Lauper’s band; has given Knox the experience of a worldwide recording and touring musician. For the past ten years Knox was residing in Berlin Germany, deepening his exploration of sonic soundscapes (Sound Ribbons), and applying it to different genres and mediums.

Bobby Previte is a drummer, composer and bandleader whose work explores the nexus between notated and improvised music. One of the seminal figures of the 1980s New York ‘Downtown’ scene, Previte has received multiple awards for music composition including the 2015 Greenfield Prize for Music and a 2012 Guggenheim Fellowship. His original compositions have been recorded and released on Sony, Elektra, Rykodisc, New World, Cantaloupe and Rarenoise. Leading a plethora of diverse ensembles from the drums, he has collaborated with an array of leading lights in and beyond the music world, including master composer John Adams, pianist Terry Adams of NRBQ, pantheon filmmaker Robert Altman, fellow Doom Jazzer Jamie Saft (recording released by Subsound), country music star Jessi Colter, blues great Johnny Copeland, composer and visionary Lukas Foss, computer music pioneer Lejaren Hiller, seven-string guitar wizard Charlie Hunter, re-discovered genius Julius Eastman, Rock author and ambassador Lenny Kaye, Lounge Lizards leader John Lurie, jazz/noise shredder Sonny Sharrock, folk hero Victoria Williams, maestro Michael Tilson-Thomas, the legendary Tom Waits, and, most recently, rock icon Iggy Pop.

Knox Chandler’s career has spanned for over four decades, including performing, recording, arranging and producing, with such acts as REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, Tricky, The Creatures, Dave Gahan Paper Monsters and The Golden Palominos etc. His long stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and Cyndi Lauper’s band; has given Knox the experience of a worldwide recording and touring musician. For the past ten years Knox was residing in Berlin Germany, deepening his exploration of sonic soundscapes (Sound Ribbons), and applying it to different genres and mediums.

Bobby Previte is a drummer, composer and bandleader whose work explores the nexus between notated and improvised music. One of the seminal figures of the 1980s New York ‘Downtown’ scene, Previte has received multiple awards for music composition including the 2015 Greenfield Prize for Music and a 2012 Guggenheim Fellowship. His original compositions have been recorded and released on Sony, Elektra, Rykodisc, New World, Cantaloupe and Rarenoise. Leading a plethora of diverse ensembles from the drums, he has collaborated with an array of leading lights in and beyond the music world, including master composer John Adams, pianist Terry Adams of NRBQ, pantheon filmmaker Robert Altman, fellow Doom Jazzer Jamie Saft (recording released by Subsound), country music star Jessi Colter, blues great Johnny Copeland, composer and visionary Lukas Foss, computer music pioneer Lejaren Hiller, seven-string guitar wizard Charlie Hunter, re-discovered genius Julius Eastman, Rock author and ambassador Lenny Kaye, Lounge Lizards leader John Lurie, jazz/noise shredder Sonny Sharrock, folk hero Victoria Williams, maestro Michael Tilson-Thomas, the legendary Tom Waits, and, most recently, rock icon Iggy Pop.

Tours (France) -based post-psych and deep-shoegaze powerhouse Stuffed Foxes are set to release their third LP, Standardized, on December 6th, 2024, via Bristol’s Stolen Body Records and French labels Reverse Tapes and Figures Libres. Songs / Revolving and Songs / Motion Return, a discographic diptych released in 2022, established Stuffed Foxes as accomplished ambassadors of the French rock scene. True to its predecessors, Standardized was recorded live in the Rennes studio of producer and musician Thomas Poli (Laetitia Sheriff, Dominique A). Mastering was entrusted to Matt Colton (Spiritualized, Swans, Shame). Early on, the six members transformed their youthful camaraderie into an adventure, embracing communal living (sharing a leaky roof had to be an integral part of the ride) and diving into the underground with their label, Reverse Tapes, a source of endless exciting music. They also adopted a democratic approach to creation fueled by endless jams, with the sexted striving to compose together from the outset. It is from this collective spontaneity that the unique expression of their music is born: long, hypnotic tracks, swirling mists of noise, and moments of vocal urgency that should be experienced in person during their invariably cathartic and incendiary concerts. It is a band that strives to stay true to its ethos, its soul haunted but never enthralled by the ghosts of its musical ancestors and battered icons. Their influences create joyful chaos: the musical walls of noise of My Bloody Valentine, the No-Wave drones of Swans, the psychedelic vapours of Brian Jonestown Massacre and the Post-Shoegaze eclecticism of Six-By-Seven. Standardized opens with Biting the Dawn, a Noise elegy that builds with relentless intensity. Léo's recitative voice soars above a searing blend of saturated guitars and echo-drenched drums. Next, Merry Xmas unleashes sharp, incisive guitar riffs reminiscent of Gang of Four and Fugazi, only to surprise with a dramatic twist that builds to a breathtaking, soaring climax echoing the brilliance of Ride’s most epic moments. Rough Up emerges as a Velvet Underground-inspired ballad, built on two simple acoustic guitar chords and an organ, showcasing a more subdued and vulnerable side of the band. In contrast, Standardized plunges into a powerful trance, unleashing a massive, deliciously primal wall of saturation with raw, unfiltered intensity. With Standardized, Stuffed Foxes appear to have reached an aesthetic milestone, transcending the semantics of the genres that once defined them. They have ‘de-standardized’ their sound and embraced a sense of freedom, opening up to the possibilities of a wider creative spectrum. Stuffed Foxes - Pretend to Be a Dog (Gamelle) (Official Video)

- 2025 Repress
- Black Bio vinyl
- Cut at 45RPM for optimum sound
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker

Blue Lake's new offering 'Weft' sees its creator Jason Dungan unearth new musical terrain
with a mini-album which presents the projects evolution. Finding inspiration in the craft of weaving and embracing a collective spirit as a band leader, all while readying a new studio album expected later in 2025.

It follows the lauded album 'Sun Arcs' (2023) with Pitchfork naming it (Best New Music, 8.3), amongst numerous other accolades. Blue Lake is the ongoing musical project of American born, Copenhagen based musician Jason Dungan which serves as his artistic platform as composer and collaborator. Developed over the period of 2024 and witnessed at live performances across a swath of European cosmopolitan cities and festivals, the project stands at a new creative juncture. The earthy title track 'Weft' emerges with a sense of ease and familiarity as looping guitar riffs in open tunings bed in around a warm cello pulse that provides the essential heartbeat. These interlinking parts align to create his most explicit version yet of an American writing country music in Scandinavia. Dungan named the release 'Weft' as a reference to the weaving practice of his partner, Danish visual artist Maria Zahle, whose work "Torso" is featured on the album's cover. With her works providing a constant source of inspiration to his music and practice as an instrument-builder, Dungan found a symbiotic connection between their mediums, which is reflected in the music on 'Weft'.

'Weft' is a collection of new works that casts a net into new sound territories with distinctive timbres yet always channelled through the refined lens of Dungan's prism. Infused with an ongoing connection to nature, it furthermore expands his unique meld of off-kilter folk, jazz, country and left-field experimental ambience. 'Weft' then is an accomplishment of growth, of bolder objectives and of collaboration with like minds. The Blue Lake project takes a dynamic step forward venturing into new creative spaces while leaving some clues along the way.

Legendary 7X GRAMMY and Emmy Award-winning artist/producer Dr. Dre celebrates the 30th anniversary of his magnum opus, The Chronic by announcing the album will be re-released. The Chronic, which is not currently available on streaming services, will again be available to fans on all major DSPs .

Steve Berman, Vice Chairman of Interscope Geffen A&M, said: “Dr. Dre is without a doubt one of the most iconic and groundbreaking artists in the modern era. He has also used his platform to fuel some very impactful philanthropic efforts that will ensure his legacy is felt for generations to come. Dre’s solo career all started with the The Chronic, one of the most celebrated recordings of all time.

First released on December 15, 1992, The Chronic peaked at No. 3 on the Billboard 200 and has spent 97 weeks on the chart since its release. The album also spawned three top 40 hits on the Hot 100, including top ten records with "Nuthin' But a “G” Thang" (No. 2) featuring Snoop Dogg and "F— Wit Dre Day" (No. 8). The Chronic topped the Top R&B/Hip-Hop Albums chart for eight weeks, while "Nuthin’ But a "G" Thang" hit No. 1 for two weeks on Hot R&B/Hip-Hop Songs. Last June, Rolling Stone placed The Chronic on its 500 Greatest Albums of All-Time List, boasting how the album "redefined the West Coast Hip Hop sound." Pitchfork also holds the seminal album in high standing, saying The Chronic lives on as a “timeless show of strength” and “gave shape to L.A.’s present and future.” Videos from The Chronic are also available on Dr. Dre’s official YouTube channel.

Last year, Dr. Dre dazzled during the Super Bowl LVI Halftime Show in Los Angeles. His enormous set was star-studded, as Dre performed alongside some of music's biggest stars, including Snoop Dogg, Kendrick Lamar, Mary J. Blige, Eminem, and 50 Cent. Dre commanded the stage – just a few miles from his birthplace of Compton – with a groundbreaking setlist anchored by hits such as "The Next Episode" and the 2Pac-led "California Love." The historic performance earned Dr. Dre his first-ever Emmy for Outstanding Variety Special (Live). The Hollywood Reporter called the halftime show "thrilling and nostalgic," while Billboard credited Dre for his "seismic impact" on music.

"Inhaler are an Irish rock band originating from Dublin. The band consists of vocalist/guitarist Elijah Hewson (son of U2 vocalist Bono), bassist Robert Keating, guitarist Josh Jenkinson and drummer Ryan McMahon. The band were tipped for success in 2020 when they ranked at number 5 in BBC's Sound of... music poll. Inhaler have released nine singles, ""I Want You"", ""It Won't Always Be Like This"", ""My Honest Face"", ""Ice Cream Sundae"", ""We Have to Move On"", ""Falling In"", ""When It Breaks"", ""Cheer Up Baby"", and, most recently, ""Who's Your Money On (Plastic House)"". Their upcoming debut album, It Won't Always Be Like This, will be released on 9 July 2021. This’ a record that sees the band turn their early promise into something special, an album teeming with expansive indie-rock grooves and soaring anthems.
Includes the single Cheer Up Baby, a swooping, epic singalong alongside newly recorded versions of early fan favourites My Honest Face and title track It Won’t Always Be Like This. "

Astro returns with a high-octane collection of tracks, peaking at the dizzy heights of 138 BPM, engineered for late night club moments and steeped in early 00s/90s influences. We were fortunate to have Cape Town's own Biodive for a remix, bringing a driving yet minimal sound, effortlessly captivating listeners.

A1, Subatomic, seizes the spotlight with its relentless, driving energy. It immerses us in a 2001 trance soundscape, featuring sharp synth lines and dynamic vocal chops, while echoing, panned stabs enhance the track's deep, otherworldly ambiance.

River Torque, panning UFO pads from a different dimension, shifting gears with precision. A tunnelling groove locks in, firing us straight into peak-time. Direct, relentless, and built for the highest intensity—this one drives everything forward. No escape, just pure momentum.

A3 sees Astro reconnect with his dub-techno origins, pulling in the deep, atmospheric vibes of his early work. Basic Channel-inspired textures are unmistakable, but here they surge. Reverb-soaked layers cascade over a pumping 909, while razor-sharp hats slice through the fog, propelling the track into a hypnotic, futuristic drive.

Wormhole is your go-to for testing low-end limits—bass-heavy, deep, and undeniable. This might be the most floor-shaking, post-pumping Astro track yet. The rich, undying textures crafted from the Blofeld Waldorf deliver sweeping alien FX, creating a soundscape that feels both immersive and extraterrestrial.

Biodive is one of those rare artists who can take a track to another level, almost transcending into another dimension. This remix embodies a minimal yet fierce Detroit sound—stripped down but powerful, hitting with precision and intensity. It’s the perfect choice to close out the EP, leaving a lasting impression with its raw energy and driving beat.

Nine Inch Nails' The Fragile is an intense and haunting masterpiece that pushes the boundaries of industrial rock. The album, released in 1999, showcases Trent Reznor's raw and emotional songwriting, exploring themes of isolation, anxiety, and self-destruction. The tracks range from aggressive and chaotic to delicate and introspective, creating a dynamic and immersive listening experience. With its intricate layers of electronic beats, distorted guitar riffs, and haunting vocals, The Fragile is a powerful and thought-provoking album that solidified Nine Inch Nails' status as one of the most influential and innovative bands in the industrial rock genre.